“… These numbers reinforce the long-standing notion that male photographers receive better deals overall: including, but not limited to, assignments, wages, positions, and exposure. And it’s not even that women don’t make the effort. As the same study found, they do, in fact, do so more than their male peers: more of them are university educated, more engaged in social media, more versatile in terms of technology used, and more digitally savvy.
Which is why it can get irritating and exhausting every time news like a prominent camera brand announcing not one, not two, but 32 brand ambassadors, with literally all of them being male photographers comes out….”
Tish Murtha, one of Magnum photojournalist David Hurn’s first students at the famous School of Documentary Photography in Newport, Wales, in the 1970s, was one of the finest documentary photographers of her generation but, in the all-too-usual manner, was ignored by the photography establishment until recently thanks to the tireless efforts of her daughter Ella Murtha, The Photographers’ Gallery, Bluecoat Press, Café Royal Books and others.
The course at The School of Documentary Photography was unique in Britain at the time and produced many fine photographers, a couple of whom later moved to Australia.
Others went on to fame and fortune, while Tish Murtha seemed to have disappeared into the background after initial early successes and commissions, dying prematurely in 2013.
Given the way female photographers have tended to be ignored and forgotten, it is wonderful to see that Tish Murtha is finally receiving the recognition that she deserved so much in her lifetime.
“There’s Jayne Mansfield, striding through New York in a tight dress. There’s fashion designer Diane von Fürstenberg, reclining on a flight with a notepad on her lap. There’s lifestyle icon Martha Stewart, leading ducks round her property dressed in a denim romper suit. They’re all here, along with Susan Sontag, Nora Ephron and countless other celebrities, intellectuals and icons of the 20th century – and all of them women.
Susan Wood, the celebrated photographer who took these shots, found that her subjects all shared certain characteristics. “The first thing is intelligence,” she says. “The second is responsiveness. And they all had tremendous energy, joie de vivre, openness. They could understand things that weren’t quite said.”…”
“History confirms it – the first photobook was made by a woman, with British photographer Anna Atkins publishing Photographs of British Algae: Cyanotype Impressions in 1843, a year before Henry Fox Talbot’s The Pencil of Nature. Still, many historians, including Allan Porter in his introduction to The Photobook: A History, dismiss Atkins’ work as “photographic prints” rather than photography.
“Unfortunately, this is far too often emblematic of the uphill battle women photobook-makers still encounter when we talk about their history,” says Russet Lederman, co-founder of 10×10 Photobooks. “As we conducted research for the How We See project, we discovered that although women photographers produce relatively equal numbers of photobooks to men, their representation in the higher-profile sectors was, and still is, disappointing.”…”
“Rencontres d’Arles says it’s “working on it” as an eminent group of photography specialists publish an open letter in Libération urging the festival director to include more women in the official programme….
… The letter urges Stourdzé to create “a more gender balanced festival” and to do so by next year – as 2019 is the 50th anniversary of the festival, and as: “women artists have no more time to waste!” It also points out that there is an appetite for work by women, pointing out that the New Discoveries section of Arles, in which international galleries are invited to recommend new photographic talent, “arouses public interest, who vote for the award, and regularly reward women”. It also points out that Arles’ Prix du livre went to a woman this year – Laurence Aëgerter, for her book Photographic Treatment….“
“Late Monday evening, VII (pronounced “seven”), one of the world’s premier photojournalism agencies, discreetly posted a terse, two-sentence statement on its website announcing that Antonin Kratochvil, the famed photographer and one of the organization’s founding members, had resigned. Any further inquiries, the agency said, “should be directed to Mr. Kratochvil.”
Kratochvil’s quiet resignation came on the heels of a bombshell report in the Columbia Journalism Review by Kristen Chick, in which several women accused him of groping and intimidating a number of female colleagues. (Kratochvil continues to deny all allegations.)…
… There were stories about the toxic culture of photojournalism before Chick’s reporting, including recent articles that brought down the famed sports photographer Bill Frakes and National Geographic editor Patrick Witty. But nothing was as comprehensive and pointed as Chick’s piece. After witnessing a wave wash over Hollywood, the media, politics, and corporate America, Chick’s story should have hastened our industry’s own #MeToo moment. That hasn’t happened — and the reason is bigger than a few bad actors….”
“… in the broader photographic industry there is still an equality gap that exists despite the movements that publicly call out old school stereotypical gender ‘norms’ – especially in the professional photographer arena. Hell, it still exists in most arenas. Professional or otherwise! So what is wrong with this picture? Is it just that more men are interested in photography than women and so more men become professionals? Well, if that were the case then what happened to all those young women I attended art school with? Exceptionally talented photographers….”
“Ever wondered what life would be like on your own private island? Or dreamt of whiling away your days as a travel blogger?
Fuji Island is the ultimate luxury escape for photography lovers….
… Created by FUJIFILM, the island comes with the latest camera equipment – including FUJIFILM’s brand new X-T3 mirrorless camera, world-famous lenses and a range of other photography goodies. You even have your own personal photographer on call….”
Fuji Island picture gallery, images courtesy of Fujifilm Australia
This sounds like an interesting concept, and I am looking forward to seeing participants’ photographs made on Fuji Island at a Fujifilm event that was apparently held there last week, the week of 3rd September 2018.
Although the Fuji Island web page states “Experience Fuji Island for USD $2,200 per night for up to two people (minimum two night stay)”, it appears that the island resort is capable of accomodating at least sixty-three people as that was the number of guests invited to the event.
Fuji Island seems to be a time-limited phenomenon rather than a permanent one:
Fuji Island is available for private hire and overnight luxury stays until 7th December 2018.
If you wish to take up Fujifilm’s special offer then make your booking fast, before southern hemisphere vacationers book up all available places!
Meanwhile we have received further information about another Fujifilm Australia event associated with Fuji Island.
Fujifilm Australia held “the XT-3 launch event on the mainland of Fiji where guests were staying (The Marriott in Momi Bay). The following day, we took everybody out by boat to Fuji Island. The launch event was held on the 6th September, and Fuji Island on the 7th.”
“There were 60 people in total attending the event. It was a mix of Fujifilm retailers, partners, staff and media.”
“We don’t have control over when media will publish articles, but we have already started receiving coverage.”
Further on Fuji Island, “Fuji Island is supposed to be an island paradise people can book. On the private island, there will be a host of FUJIFILM equipment, including an X-T3 that people can try out and take amazing holiday photos with.”